Tag Archives: film music

Dune “Main Theme” (1984)

With the Denis Villeneuve adaptation of Dune on the way, it only makes sense that I’d have all things “Dune” on the brain as of late, and that includes the music of the 1984 film that did its best but ultimately fell short of being a satisfying adaptation. Despite its flaws, I maintain that the 1984 adaptation of Dune is a fairly satisfying film, not least because of its musical score from Toto and Brian Eno.

One of my favorite musical moments in Dune is the main theme, which opens the story and recurs at pivotal moments. Take a moment and listen to the main theme of Dune below:

I love this theme because of how effective it is. It’s a simple enough melody but by thrumming up in the strings and brass it communicates the idea of power and growing tension, both themes that can be found throughout the story of Dune (as controlling Arrakis and the spice grants power and there’s unending tension between the Atreides/Fremen and the Harkonnens throughout the story).

It also, as I said before, recurs at pivotal moments throughout the film, and I’ll look at two of those moments as examples. The first example comes when Paul is summoning a sandworm for the Fremen. The theme begins when the massive sandworm is first seen rising up from the endless dunes. The placement of the music and visual image is pretty brilliant here, as the music rises up in conjunction with the worm, really making you feel the appearance of shai-hulud (the Fremen name for sandworms).

Notably, the main theme continues in a higher register once Paul has control of the sandworm, ending on a triumphant tone as the scene ends. This is one of my favorite scenes in the entire movie, and it’s all because of this wonderful music.

The second example I’d like to look at is at the end of the film, when Paul demonstrates his power as the Kwisatz Haderach. As Paul exerts all his power to cause rain to fall on Arrakis, the main theme recurs yet again. Now, instead of the sandworm’s power being highlighted, it’s Paul and his power that we’re being drawn to by the music. He’s doing something that no human has ever done before, he’s causing rain to fall on a desert planet that likely hasn’t seen a rainstorm in a hundred generations, if ever. It’s set up as a fairly powerful moment and I feel the music is what makes it so. Check it out below:

Now, unlike the first example with the sandworm, this example uses the music in an entirely different way. The scene with the sandworm almost vibrated with raw power. Here, at the end of the film as Paul assumes absolute power, the music assumes a higher register, even including a choir at one point to highlight the awesomeness of what Paul is doing. This is a profound moment, so the music, though the melody is the same, has to be that much different to carry the point across to the audience. This is the ultimate expression of the main theme, nothing will ever surpass this (or at least that’s the intention).

Yes, it’s true, Dune has many, MANY flaws, but the music is not one of them, as I hope these examples with the main theme show. I really believe this score is underrated and should be given more attention. I hope you enjoyed listening to some examples of Dune’s main theme.

Let me know what you think about the main theme of Dune in the comments below and have a great day!

See also:

Film Soundtracks A-W

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Soundtrack News: ‘The Nest’ Original Soundtrack Available September 18th

Milan Records has announced that the original motion picture soundtrack for The Nest (composed by Richard Reed Parry) will be released on September 18th, 2020. Available for preorder now, the album features music written by Parry for the thriller and marks Parry’s debut feature film score as solo composer.

Of the soundtrack for The Nest, composer RICHARD REED PARRY has this to say:

“When I watched the very first rough cut of The Nest without any music, I could feel right away what I wanted the score to be: Music that sounded like it was written and played somewhere within the massive old manor house that so much of the film centers around… I am very grateful to my fantastic musical collaborators, and for Sean Durkin’s trust in my own intuitive musical process and the artistic space and freedom he gave me to explore the musical landscape of his film.”

“Long before Richard was the composer for the film I was listening to his Music for Heart and Breath album while writing the script, so for him to come on to the project was very exciting for me,” adds The Nest director SEAN DURKIN. “It’s been an incredible collaboration working with him. He’s created a stunning score that captures the atmosphere and emotion I wanted the film to encompass.”

In The Nest, Rory (Jude Law), an ambitious entrepreneur and former commodities broker, persuades his American wife, Allison (Carrie Coon), and their children to leave the comforts of suburban America and return to his native England during the 1980s. Sensing opportunity, Rory rejoins his former firm and leases a centuries-old country manor, with grounds for Allison’s horses and plans to build a stable. Soon the promise of a lucrative new beginning starts to unravel, the couple have to face the unwelcome truths lying beneath the surface of their marriage.

THE NEST (ORIGINAL MOTION PICTURE SOUNDTRACK)

TRACKLISTING – 

1. Drone Beast
2. Symphony Brew
3. Base Motives 
4. Murky Half
5. What We’ve Always Wanted
6. Base Motives II
7. New Descent
8. The House
9. Dark Tumbling
10. Drone Beast: UK
11. Symphony Brew Redux
12. Slow Descent
13. Drone Beast: In the Air


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RIP Ennio Morricone (1928-2020)

I normally don’t comment on moments like this, as I normally reserve my blog for film and soundtrack reviews, but the passing of Ennio Morricone, a veritable titan in the world of film music, cannot be passed over without a mention.

I woke up this morning to the news that Ennio Morricone had passed away at the age of 91. He composed over 400 scores for film and television, and to this day might be best known as the composer for The Good, The Bad, and The Ugly (you know the piece I’m talking about). But Morricone’s work stretches far beyond that (rightfully acclaimed) film. He composed for spaghetti westerns, comedies, Hollywood films, foreign films, television scores, when you look at the complete list of scores Morricone created, you’ll be amazed that one man could create so much.

But I think the memory that will stick with me the longest about Ennio Morricone is how he won the Oscar for Best Original Score for The Hateful Eight at the age of 87 (making him the oldest person to ever receive a competitive Oscar to date). That he didn’t receive an Oscar until so late in his career is something of a crime in my opinion, but I’m glad he did receive some official recognition of his work from Hollywood (and rightfully so, as the music for The Hateful Eight is incredible).

The world of film music will never be quite the same again now that Ennio Morricone is gone. Rest in peace good sir, and thank you for everything.

Let me know about your favorite score by Ennio Morricone in the comments below.

See also:

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Star Wars: The Phantom Menace “Augie’s Great Municipal Band” (1999)

Star Wars is known for many things, but one of my favorites is the many great musical moments that define each of the films in their own way. In the prequel trilogy, one of my favorite moments comes at the very end of The Phantom Menace when everyone gathers in The (capital of Naboo) to celebrate their victory over the Trade Federation and the new alliance between the Gungans and the people of Naboo.

 

During “Augie’s Great Municipal Band”, the Gungans march up the main boulevard of Theed to the steps of the palace, celebrating all the way, while Queen Amidala waits for them along with a host of important characters (the Jedi council and the newly-elected Chancellor Palpatine among them). “Augie’s Great Municipal Band” has a bouncing melody that appears to perfectly reflect the excitement of the moment. But there’s a secret here, courtesy of John Williams.

Listen to this melody in the video above, listen to it very carefully. Do you hear it? Don’t feel bad if you can’t, I didn’t know this existed until I was told about it. Pay attention to the children’s choir, does it sound at all familiar? In a way it should, they’re actually singing the Emperor’s theme in a major key (it’s usually minor) and at least double the speed. That’s right, John Williams hid the Emperor’s theme in a scene of celebration as an extremely subtle bit of foreshadowing that Palpatine is literally controlling all of this. It’s downright spooky once you make the connection, not to mention it makes you view this “celebration” in a completely different light. Everything is going according to Palpatine’s plan, and the Jedi are already doomed, even though they appear to be stronger than ever.

 

Of all the musical foreshadowing John Williams has done in the Skywalker Saga, this is among the most subtle. Be sure to think about this the next time you watch the conclusion of The Phantom Menace, you’ll never look at that scene in the same way ever again.

Let me know what you think about “Augie’s Great Municipal Band” in the comments below and have a great day!

See also:

Film Soundtracks A-W

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Star Wars: A New Hope “The Throne Room” (1977)

Given the enormous amount of music that John Williams has composed for Star Wars over the decades, it stands to reason that some pieces will be remembered more than others. One piece that might not be remembered as much as it should is “The Throne Room”, the fanfare that concludes Episode IV before the credits begin to roll. To put it in context, the Death Star has been blown up, the surviving heroes have returned in triumph, and now it’s time for our heroes to receive their reward from Princess Leia:

 

It’s a stirring fanfare to be sure. As the heroes stride down the aisle to where Princess Leia and the other Rebel Alliance leaders are waiting, you hear a heroic version of “The Force” theme backed up primarily by the brass (and supported by the strings underneath). This music has all the makings of a climactic ending, and originally that’s what it was supposed to be. Remember, at the time the score was composed, there was no guarantee that there would be any sequel to Star Wars, let along a decades-spanning franchise that shows no sign of slowing down. With that in mind, it’s my understanding that the decision was made to give Star Wars as “final” sounding of an end as possible, just in case this was all she wrote and the film bombed at the box office (an idea that sounds laughable now but was a distinct possibility at the time).

“The Throne Room” is designed to bring the story of Star Wars to a close without the aid of dialogue. It tells us all we need to know: the heroes have done what they needed to do, now they can take a breath and celebrate their victory. And if this had been all there was, anyone could say this piece of music brings Star Wars to a thrilling conclusion. But of course, history tells us this was only the beginning for Star Wars. That being said, it doesn’t change the fact that “The Throne Room” is a beautiful piece of music, one that all fans of film music should take a few minutes and listen to.

Let me know what you think of “The Throne Room” in the comments below and have a great day!

See also:

Star Wars: A New Hope “The Empire motif” (1977)

Film Soundtracks A-W

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Soundtrack Review: Star Wars: The Clone Wars-The Final Season (Episodes 1-4) (2020)

Now that we’re a third of the way through the final season of Star Wars: The Clone Wars, Disney has released the official soundtrack for the first four episodes. This covers soundtrack excerpts for “The Bad Batch”, “A Distant Echo”, “On the Wings of Keeradaks”, and “Unfinished Business.”

If you’ve been following the final season of Star Wars: The Clone Wars on Disney+ then you know the music has been as brilliant as ever. There have been callbacks to some classic Star Wars motifs, and plenty of action as only composer Kevin Kiner can deliver it.

Kiner said (of this season): “It has been such a fantastic ride scoring ‘Clone Wars’ and working with Dave Filoni and George Lucas was a dream come true. I feel like season seven is everything we all wanted ‘Clone Wars’ to be, top to bottom.  From the music to the animation to the story lines to the directing, this is the show I always wanted to be a part of!”

The release dates for the remaining soundtrack releases are as follows (hopefully the coronavirus will not delay them):

4/10: Star Wars: The Clone Wars – The Final Season (Episodes 5-8)
5/4: Star Wars: The Clone Wars – The Final Season (Episodes 9-12)

 

Tracklist

  1. Star Wars Main Title & A Galaxy Divided
  2. Misplaced Hope
  3. Droids Approaching
  4. Clones Retreat
  5. Anakin and Padmé
  6. Chase in the Sky
  7. Poltechs
  8. Search Party
  9. Escape Route
  10. Walkers Battle
  11. Mission Begins
  12. Ticking Time Bomb
  13. Bad Batch Heroics
  14. Finest Troopers

Enjoy the new soundtrack release for Star Wars: The Clone Wars and have a great day!

See also:

Star Wars: The Clone Wars “Bad Batch Theme” (2020)

Film Soundtracks A-W

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Star Wars: The Force Awakens “March of the Resistance” (2015)

When Star Wars: The Force Awakens arrived at theaters in 2015, John Williams proved that he hadn’t missed a step by filling the film with all kinds of musical themes. Heroes and villains alike were given their own memorable themes. “March of the Resistance” is one of the heroic themes and was written for the Resistance as a whole, though I feel it could also be applied to certain characters. Check out “March of the Resistance” below:

This theme arrives for the first time in the midst of the Battle of Takodana, just as our heroes have been taken captive by the First Order. It starts as the camera turns and reveals Resistance X-Wings are racing towards the ruins of Maz’s Castle led by Poe Dameron.

“March of the Resistance” is one of the more “classic” Star Wars themes that John Williams created for The Force Awakens. By “classic” I mean that this theme could easily fit into the original trilogy with its jaunty bass tones and upbeat rhythms. Think about it, doesn’t this theme feel like it could apply to the Rebellion just as much as the Resistance? Not only that, but I really feel this theme could apply to Poe Dameron as his own personal theme. It fits Poe perfectly: it’s brash, it’s loud, and it just oozes confidence, all qualities that the future Resistance general definitely possesses. I’m not sure if Poe has his own theme or motif, but if he doesn’t, I’m probably just going to apply this theme to him from now on because it is just too perfect for him.

This theme recurs at several points in the sequel trilogy after debuting here, most notably in The Rise of Skywalker when the Resistance is departing to bring the fight to the Final Order. It’s a very versatile theme, good for playing over sections of the film that show the Resistance in action. It’s also quite memorable, as its one theme from the sequel trilogy that I’ve found myself humming from time to time.

I hope you enjoyed listening to “March of the Resistance” from Star Wars: The Force Awakens. Let me know what you think about this theme in the comments below and have a great day!

See also:

Star Wars: The Force Awakens “Kylo Ren’s Theme” (2015)

Star Wars: The Force Awakens “Rey’s Theme” (2015)

Star Wars: The Last Jedi “The Spark” (2017)

Star Wars: The Rise of Skywalker “Kylo Ren’s Theme (Redeemed Version)” (2019)

Film Soundtracks A-W

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Star Wars: The Force Awakens “Rey’s Theme” (2015)

This is my honest opinion: if you try to tell me there are no great musical themes in Star Wars: The Force Awakens, then you haven’t been paying attention, because John Williams introduces a beautiful, original theme relatively early in the film. This is “Rey’s Theme” and it comes when, you guessed it, we first meet Rey living as a scavenger on Jakku.

 

The theme starts as Rey is leaving the ruins of the crashed Star Destroyer, having finished her work for the day. It starts off with a bit of whimsy, a soft chiming melody that soon grows into a flowing theme with the strings and woodwinds. This melody tells us several things: that Rey is young and idealistic (much as Luke Skywalker was many years ago), but also that she has her own inner strength even before she starts to use the Force. The former is heard in the opening part of the theme, and the inner strength is revealed when the strings come in, pushing the theme to new heights.

This original version of “Rey’s Theme” lays the foundation for several melodies to come in the sequel trilogy, particularly in The Rise of Skywalker. Williams will put this melody through several variations, altering it to meet Rey’s changing circumstances as the story progresses.

As a musical introduction to one of the most pivotal characters of the sequel trilogy, “Rey’s Theme” performs its purpose beautifully. This theme deserves to be remembered just as much as “The Force Theme”, “The Imperial March”, “Duel of the Fates” and any other classic Star Wars theme. For me, this theme is clear proof that John Williams is just as talented as ever when it comes to creating memorable film music themes.

I hope you enjoy listening to “Rey’s Theme” as originally heard in Star Wars: The Force Awakens, let me know what you think about it in the comments below and have a great day!

See also:

Star Wars: The Force Awakens “Kylo Ren’s Theme” (2015)

Star Wars: The Force Awakens “March of the Resistance” (2015)

Star Wars: The Last Jedi “The Spark” (2017)

Star Wars: The Rise of Skywalker “Kylo Ren’s Theme (Redeemed Version)” (2019)

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Star Wars: The Rise of Skywalker “Kylo Ren’s Theme (Redeemed Version)” (2019)

*warning (in case you haven’t seen it): some plot details from The Rise of Skywalker are mentioned

I understand that Star Wars: The Rise of Skywalker has polarized Star Wars fans in every way imaginable and likely will continue to do so for years to come. That being said, this film, as with all the others in the Skywalker Saga, is full of interesting musical moments that we’ll be spending years breaking down and analyzing.

One moment that caught my attention the very first time I saw the film in theaters comes at the end of film, just as the dust is settling from Rey’s climactic fight with Emperor Palpatine. It’s a short moment in a larger theme, but it essentially makes up Kylo Ren’s “redeemed” theme.

You can find this moment in the cue “Farewell” starting around the 0:50 mark. In the film itself, it starts the moment we see Ben’s hand emerge from that crack in the ground, revealing that he is, in fact, alive and didn’t fall to his death.

 

In strictly technical terms, this is the same theme we’ve heard for Kylo Ren all along. The notes haven’t changed all that much…but how they’re presented is. Gone is the harsh brass, the loud, angry tones. Instead, we have a soft theme gliding along in the strings and woodwinds. In essence, this is John Williams making it as clear as possible that Kylo Ren is indeed dead and gone, that this is a changed man before us crawling and making his way towards Rey.

But as with anything John Williams does, there’s a lot more going on just in this short moment. As the redeemed theme emerges, it begins to layer on itself, building and growing as the layers rebound off one another. All of this symbolizes Ben’s grief at finding Rey dead and the battle over. How incredible is it that all of this happens in just a short space of time? It’s so effective, which is why this is one of my favorite musical moments in the entire sequel trilogy.

And of course, there is yet another connection to Ben’s grandfather Anakin Skywalker/Darth Vader. You see, this isn’t the first time a Star Wars villain’s music has changed to a milder, “redeemed” style. All the way back in Return of the Jedi, Williams did something very similar for the cue “Darth Vader’s Death” (starting around 0:48)

 

Sounds familiar doesn’t it? It’s the same Imperial March, same notes and all that, but it’s been moved to the strings and sounds a lot more mild, just like what we hear in The Rise of Skywalker. I’m fairly certain that John Williams did this on purpose, to heighten the connection between Ben and his grandfather. It seems that Ben is exactly like Anakin after all, angry in life and redeemed at the moment of death.

Let me know what you think about Kylo Ren’s “redeemed” theme in the comments below and have a great day!

See also:

The Empire Strikes Back: “The Imperial March” by John Williams

Star Wars: Return of the Jedi “Final Duel” (1983)

Star Wars: The Clone Wars “Bad Batch Theme” (2020)

Star Wars: Rebels “It’s Over Now”

Star Wars: The Force Awakens “Kylo Ren’s Theme” (2015)

Star Wars: The Force Awakens “Rey’s Theme” (2015)

Star Wars: The Force Awakens “March of the Resistance” (2015)

Star Wars: The Last Jedi “The Spark” (2017)

Film Soundtracks A-W

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Star Wars: The Last Jedi “The Spark” (2017)

My general opinion of The Last Jedi has changed a great deal since I first saw the movie in 2017, but one thing that hasn’t changed is my love of the film’s soundtrack. It’s been my longstanding opinion that the Star Wars soundtrack as a whole is one of the greatest film music creations ever made and the music for The Last Jedi is up there with some of the best themes Williams ever created.

“The Spark” is one such theme and one I’ve wanted to talk about for a while. It occurs very late in the film, when Luke Skywalker appears out of nowhere in the remains of the Rebel base on Crait. Most of the cue, starting around 1:00 is actually from a Return of the Jedi theme known as “Luke and Leia” and plays when Luke finally reunites with his twin sister. You would know this as the music that plays in ROTJ when Luke reveals that Leia is his twin. It’s pretty much the same theme all over again and it really is perfect for this scene that happens to be the first and sadly, only, time we see Luke and Leia together in the sequel trilogy (everything after this was done with body doubles and CGI so it doesn’t really “count” for me if that makes sense).

After this memorable theme runs its course, then the fun really starts. Starting around 2:15 the music begins to morph into something different but it doesn’t latch onto the new theme until around 2:30. From that point on, the music enters a weird march-like motif that might sound odd at first, or vaguely familiar depending on your point of view. There’s a deep, booming motif that repeats over and over again as Luke strides out to confront the First Order and his wayward nephew Kylo Ren. As you listen to it, you might realize that this is actually from the bass line of The Imperial March, known the world over as “Darth Vader’s theme.”

luke-leia-tlj-tall

Think of the symbolism in this choice on the composer’s part. We have Luke Skywalker, Jedi, hero of the Rebellion, etc. and so on, marching out to face the evil First Order to more or less the tune of the Imperial March. I don’t know if it’s merely ironic or also meant to send a message, maybe something to the effect that it’s Luke who has the power and authority that Kylo has always sought but will never find because he’s too much of a hothead. It could be I’m thinking too much into it but it always sends chills down my spine to hear the remnants of that immortal theme when Luke walks out, all alone, to stare the enemy down.

Some people gave John Williams a lot of flack for not creating a new Imperial March or something equivalent for the sequel trilogy, but I really feel he didn’t need to, and “The Spark” is a prime reason why. It’s a combination of the old and new that lends sadness and power to this scene in a way that only Williams can make possible.

Enjoy listening to “The Spark” from Star Wars: The Last Jedi. Let me know your thoughts about this moment in the comments below and have a great day!

See also:

The Empire Strikes Back: “The Imperial March” by John Williams

Star Wars: The Force Awakens “Kylo Ren’s Theme” (2015)

Star Wars: The Force Awakens “Rey’s Theme” (2015)

Star Wars: The Force Awakens “March of the Resistance” (2015)

Star Wars: The Clone Wars “Bad Batch Theme” (2020)

Star Wars: Rebels “It’s Over Now”

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂